Colin + Nicole

I woke up like this, wondering what's going on with Colin Firth and Nicole Kidman and/or their agents?

People aren't talking about this yet because the movies haven't arrived and also, undoubtedly because both stars are so prolific that it's hard to keep track of their upcoming deals. But three of their next handful of releases are together. They're husband and wife in The Railway Man (opening in April) which is largely Colin's film. Then they're nemeses in Paddington (opening in December) in which Colin is the voice of the title character and Nicole the villain. And at some point (no release date yet)  they're back to being husband and wife again in the thriller Before I Go To Sleep in which Nicole plays a woman being treated for anterograde amnesia who doesn't realize she's married or has a son.

Will Colin & Nicole do a fourth? I feel they must. In their two films in which both actually appear, Nicole is brunette or blonde but you haven't really co-starred with Nicole Kidman unless she's a redhead.

That's the rule. 

Kidman and Firth in "Before I Go To Sleep"

Though frequent pairings have a rich history in Hollywood, it went out of fashion sometime in the modern era. (Maybe franchise culture killed the desire for it, since there is so much repetition in other ways?) Frequently co-starring with the same person just isn't that common anymore outside of auteurist filmographies that use the same actors a lot in different permutations (Cooper & Lawrence & Russell lately). It's not even common when we want it to be (I'm still waiting for Brad & Angie to follow up Mr & Mrs Smith you know? And despite several indications over 25 freaking years that Pfeiffer & Bridges wanted to pair up again it never happened). It's not even common to continue even when all of the pairings are big hits (Turner + Douglas and then Hanks + Ryan quit after only three).

Who do you wish would be reunited onscreen? Will Colin & Nicole do a fourth? Stay tuned. 

Is Jeremy Irons Put 'Out to Pasture' as Pennyworth?

[Editors Note: I am pleased to welcome new contributor Diana Drumm to The Film Experience. The benefit of fresh voices? They often have subjects to opine on that we haven't run into the ground already here at TFE. Like this consideration of Jeremy Irons, late in his career. Enjoy! - Nathaniel]

Last week, the internet announced, buzzed and trounced the news of Jesse Eisenberg signing on to play Lex Luthor in the upcoming Batman vs. Superman. (Insert maniacal mastermind Mark Zuckerberg joke.) Less buzzed about, but part of the same announcement, Jeremy Irons is set to play Alfred Pennyworth. Seriously. Jeremy “Scar is an unknowing introduction to masochism” Irons. Brushing aside millenial Disney hang-ups, Jeremy Irons is a glorious figure of bygone British manhood and Alfred Pennyworth is... A different sort of bygone British manhood. 

Lithe yet powerful, languid yet vital, vulnerable yet undeniably masculine. As an actor, Irons’s performances take on a seductive quality, with an earnest veneer covering an implicit rascaliness or vice versa or a muddled mix of both. With a bewildered look as powerful as a forceful growl, he (his innate talent, his RSC work, his Oscar) is being wasted.

Not that he’s the first thesp to be called in as a ringer for a blockbuster (or that this is his first time on the merry-go-round -- Eragon, Beautiful Creatures, etc.)...

Click to read more ...

Year in Review: Best Ensembles & Best Casting

To the tune of Madonna's "Music" ♫

Hey Mr Director, get your ensemble on, all the guys & ladies
And once the movie starts
don't ever let them stop, they're gonna drive me crazy

People make the movie come together - yeah

As annoying as it was in 2003 when Mystic River was attempting to halt the inevitable Lord of the Rings coronation with a sort of 'people are the best special effects!' Oscar campaign, the sentiment was true and remains so. I've been going to all kind of movies my whole life and  I've yet to see anything that's as remarkable as the happily regular occurence of weird electricity and true magic sparking when fine actors collide, collude, combust or cooperate.

So as we're all celebrating the holidays with our own personal ensembles of friends and family, I thought it would be a good time to honor the most special collections of players in 2013.  I can never let the Screen Actors Guild have the last word on this matter because, though acting is their raison d'etre, they never get this category right, opting for popular Oscar bound films with big casts and not really thinking about the WHOLE cast, and how all those players are interacting and bouncing off or working together. This year, they chose August: Osage County, American Hustle, Dallas Buyers Club, 12 Years a Slave, Lee Daniels' The Butler, and I think two of those are really poor choices (though I like all five films) when you're thinking about the acting collective as opposed to just one or two performances within it. SAG's past history suggests that they're only comfortable with "star" ensembles so they were never going to go for fine teams like Frances Ha and Short Term 12 but why not Prisoners which is a sharp example of stars NOT connecting with each other on purpose. Everyone in that cast is alone since all the characters are horrified by each other (and sometimes themselves), trapped in their own personal grief and grievances.

When you're talking about great ensemble work I think you're also talking about fine direction and smart casting, though there are exceptions. Two fascinating examples of how complicated this all gets in that you can have one without the other(s) are August: Osage County and 12 Years a Slave. A:OC has a lot of fine actors in it but the director John Wells can't figure out how to see all of them at once, opting too often for shot / reverse shot when he needs to widen the camera or choreograph them differently so we can watch them together. I've never understood why so many contemporary directors have trouble absorbing this concept since their peers who are skillful at shooting group scenes are hardly obscurities. Just watch a couple of movies by David O. Russell and Paul Thomas Anderson (or classic departed directors like Wyler or Altman) and you'll instantly be smarter about ensemble vision; They know exactly when to go to or stay with a two-shot or a three or four or even five shot... Hell, get everybody in there -- the more the merrier! As for 12 Years, I'm on record as complaining about the casting. Too many of its (white) supporting players are too familiar as  faces go which, in a lesser movie, would really derail the existential horror. But there's no denying that when this cast is acting together it's absolutely electric... I still get chills thinking about the way Michael Fassbender leans on his co-stars like they're his furniture and the way the various actors playing the slaves freeze up whenever they're being observed and the multiple nuances of when the actors are willing to look at each other and when they're too scared or smart to. It's all top notch work but if the director wasn't wise enough to let you see this -- and many directs aren't, just stiching 90 minutes of establishing shots and close-ups together and calling it a movie -- the ensemble probably wouldn't be winning as much praise.

Without further ado... My Nominations for Best Casting & Best Ensemble

And, in case you haven't seen THR's Casting Roundtable. I watched it only after making my lists since I didn't want to be unduly influenced but it's completely interesting. 

I only wish they could have found room for Rich Delia and Douglas Aibel, since I'm honoring both this year.

Podcast: Philomena Catching Fire

This week Nick, Nathaniel, Katey, and Joe discuss the blockbuster Philomena and that little arthouse indie The Hunger Games: Catching Fire. Spoilers you might want to avoid for Philomena are here (32:00-32:20 / 35:00-35:30).

Some questions that need your answers in the comments:  Is Jennifer Lawrence better as Katniss than in her Oscar roles? Would The Hunger Games be better as a TV series? What is going on in the Hemsworth family gene pool? Is Philomena at 98 minutes too padded or too short or, paradoxically, both? And how many nominations can it hope for having conquered the auntie demographic?

You can listen here or download the conversation on iTunes. 

Philomena: Catching Fire

Sisters of the Forest

JA from MNPP here. We all know what happened the last time a girl named Nell wandered into the woods - no good can come from it! I kid, I kid - I know there are vehement Nell defenders out there, and I've no doubt you're all up in this actressexual's haven, so I'll step off.

I only use that Jodie Foster film as a sideways stepping stone to address today's news that Ellen Page and Evan Rachel Wood have signed up to star in Into the Forest, an adaptation of Jean Hegland's book about a pair of sisters (named Nell, a-ha, and Eva), one a ballet dancer and the other a student (I don't think I'll ever figure out which actress is playing which role!), who are forced into survival mode together when society comes crashing down around them in the not distant future. Have any of you read the book? I have not but it sounds right up my alley and I think I will go pick myself up a copy right this second. What do you think about Page and Wood playing sisters? Patricia Rozem, who previously made the womanly entertainments Grey Gardens and Mansfield Park, is directing.