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Entries in casting (230)

Saturday
Apr282012

Misleading Headline Of the Week!

Saw this on my google reader feed via Coming Soon yesterday and giggled.


It's technically true but if it were literally true -- Julianne Moore AS Carrie - I'd have to rethink my preemptory distaste for the movie. Dear god (aka Julianne), I'd have to quit scoffing altogether! I'm suddenly picturing a completely different completely unfaithful reimagined Carrie in which a shy 51 year old fire-haired virgin goes telekinetically mental on her town. What would prompt it? And which 70something actress could play Julianne's crazy bible-thumping mother?


Though it seems patently ridiculous to imagine a better Margaret White performance than the one Piper Laurie took to an Oscar nomination in the Seventies, Moore is no slouch when it comes to maternal mania. I am therefore, forced to be intrigued a tiny bit. If Julianne takes the role that is...

Will she or won't she? Should she?

Thursday
Apr122012

Psyched Over "Making of 'Psycho'"?

Jose here. Biopics are always a controversial topic. People get riled over the casting choices, the director, the time period they cover etc. (Anyone still remember when Julia Roberts was interested in playing Kate Hepburn?)

One of the biggest upcoming biopics officially begins production tomorrow. It's none other than Hitchcock (based on Stephen Robello's Alfred Hitchcock and the Making of Psycho) which will chronicle the making of one of the greatest movies of all time.  The movie will be directed by Sacha Gervasi (of Anvil! The Story of Anvil semi-fame) and as of now has one of the most fascinating casts assembled in recent history to pay tribute to this legendary movie,

Anthony Hopkins headlines as Hitch and Helen Mirren will play his wife Alma Reville. Scarlett Johansson and James D'arcy are set to play Janet Leigh and Anthony Perkins respectively (although the other way around would've been interesting too, where's Todd Haynes when you need him?)

Why don't we just take a look at them with their real life counterparts?

Click to read more ...

Tuesday
Mar272012

Stupid News of the Decade: Chloe Moretz as "Carrie"

Sigh.

Breaking news: Chloe Moretz has accepted the lead role in the remake of Carrie. The news broke. It broke all the goodness in the world.

Not that a remake of Carrie wasn't a uniquely terrible idea all on its own without a hand from Chloe! The original is bloody perfect and Sissy Spacek's fragile overwhelmed and finally furiously catatonic performance is unimproveable. Frankly it's the stupidest casting I've heard since that time decades ago when Nicolas Cage was going to play Superman. This is like asking George Clooney to play an ugly unsophisticated charmless schlub virgin or asking Tilda Swinton to be uninteresting. Some things are just impossible.

No matter what one thinks of Chloe as an actress there is this fact: she exudes confidence. She's like a teflon teen. Not one atom in her body seems fragile or confused or meek. Yes, yes, she's an actress and you can play things other than yourself. But. But. Everything about her persona / aura / being reads wrong for this. She'd be more convincing remaking Aliens as Ripley or remaking No Country for Old Men as Anton Chigurh. Or maybe The Silence of the Lambs as both Clarice and Hannibal. This is what happens when Hollywood bases their casting on "who's hot" and does it without imagination.

Executive: "Hey, we've seen her bloodsplattered (Let Me In) and killing (Kick Ass) already. She can do that. ZOMG she's perfect for it!!!"

Kimberly Peirce is directing. She started off strong with Boys Don't Cry (1999). Her second feature Stop Loss (2008) had its moments but barely caused a blip. This third outing can't end well. And I don't mean for the kids at the prom.

I'm trying to be nice but JA gave this the most apt funny headline... "Chloe Moretz Burns in Hell"

Tuesday
Dec202011

Interview: Sean Durkin on "Martha Marcy May Marlene"

Oscar ballots hit the post office one week from today but movies often live well beyond the confines of awards season if they're any good.

One film that I suspect will be vying for the great honor of Best Future Shelf Life, with or without Oscar nominations, is Sean Durkin's cult drama Martha Marcy May Marlene. Durkin was recently named one of Forbes "30 Under 30" and a week ago the prestigious Los Angeles Film Critics Association named the creative team the recipients of this year's "New Generations" award. It's one of the best critical calls this season; who wouldn't be eager to see what this team comes up with next?

I spoke to Durkin recently about his debut feature which hits BluRay and DVD on February 21st, 2012. That happens to be one week before the Oscars but let's not get hung up on dates since Martha herself never knows what time it is.

There are no clocks or calendars in those places. People totally lose track of time..."

The FYC Original Screenplay shipped to votersSo Durkin tells me while discussing his research for the film and interviews he'd had with former cult members like the fictional Martha. "They don't remember anything about the first couple of weeks. But they get flashes and then they remember lying to everyone about where they've been. They're always paranoid." Piecing together the past when your identity has been systemically reprogrammed is difficult work. The decision to crosscut between the past and present, Martha never quite able to keep them separate, seemed like the only way to go. "It just made sense to me"

The challenging movie favors ambiguity in its storytelling. The writer/director laughs when asked which question he most hates getting during the ambiguous-averse tradition of Q&As. (He's been promoting the movie for nearly a year now, starting at Sundance, and I figure he's heard some doozies.)

That's an original question! Whatever people feel when they're watching it or if they walk out, it's all fine."

[Ambiguity, That Title and What's Next? after the jump]

Click to read more ...

Wednesday
Dec142011

BEST ENSEMBLE... Except You Corey Stoll in "Midnight in Paris"!

It's become something of a tradition here at The Film Experience to take issue with the Screen Actors Guild and their problematic "Outstanding Performance by an Ensemble in a Motion Picture" prize. Year after year they don't even seek to address an issue that you'd think would matter to the 90,000+ guild members: the preferencing of "names" over character actors, no matter the size or importance of the role. As you may know acting is one of those fields were you're lucky to just be working and those who make millions are few and far between. Yet the guild, which should be protecting their less-famous members often lets them be crushed by fame and its perks (aka getting your own title card or high billing). If you don't have your own title card you usually don't end up in the "ensemble" list. Our interest in this situation was first stirred by The Aviator (2004) when we were horrified to realize that the very famous Gwen Stefani was included as a nominee for essentially walking and sitting onscreen in Jean Harlow drag while Matt Ross, who was excellent in MANY scenes as Howard Hughes's right hand man was excluded. 

So who is nominated and who is excluded this year? Let's take a looksee.

THE ARTIST
nominees: Bérénice Bejo, James Cromwell, Jean Dujardin, John Goodman, and Penelope Ann Miller
who is excluded? Missy Pyle who has a fun cameo and Beth Grant who appears in the movie briefly in its final act ...and Uggie the dog who some people think is best in show. 

BRIDESMAIDS
nominees: Rose Byrne, Jill Clayburgh, Ellie Kemper, Matt Lucas, Melissa McCarthy, Wendi McLendon-Covey, Chris O'Dowd, Maya Rudolph and Kristen Wiig.
who is excluded? This is fairly representative of the film though Ben Falcone, Air Marshall Jon (and Mr Melissa McCarthy in real life), is excluded. Also missing though understandably given that he went "uncredited" is Jon Hamm.

THE DESCENDANTS
nominees: Beau Bridges, George Clooney, Robert Forster, Judy Greer (Interviewed), Matthew Lillard, and Shailene Woodley.
who is excluded? Nick Krause as "Sid" who has been given quite a lot of attention in the movie's trailer and appears in several scenes. An even more important character, the youngest King daughter played by Amara Miller is also absent. We'll forgive them for omitting Patricia Hastie as Elizabeth King. (Not that it's not difficult to appear comatose for scene upon scene upon scene; I could never sit still that long, I don't know about you.)

THE HELP
nominees: Jessica Chastain, Viola Davis, Bryce Dallas Howard, Allison Janney, Chris Lowell, Ahna O'Reilly, Sissy Spacek, Octavia Spencer, Mary Steenburgen, Emma Stone, Cicely Tyson and Mike Vogel.
who is excluded? With the largest amount of nominees, they do fairly well at covering the movie but there is one key player missing: Aunjane Ellis who plays "Yule Mae" and gets a few really good scenes involving her struggle to send her boy to college. Other exclusions: Tony winner LaChanze who plays "Rachel" in one of the most heartbreaking scenes as her mother is fired from a lifelong job, and the diminutive Leslie Jordan who bosses Emma Stone around frequently at work between meatier scenes is also absent.

MIDNIGHT IN PARIS
nominees: Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard, Rachel McAdams, Michael Sheen, and Owen Wilson (who are all listed alphabetically, as is Woody's generous ensemble-friendly way, on the first title card)
who is excluded? Where to even begin? Each year one of the nominees takes the cake for the year's most bizarre exclusions and this is inarguably that film for 2011.

The nomination does not include the three co-stars who were, arguably, the most fun to watch. Corey Stoll who won the lion's share of "stole the show!" plaudits for his breakthrough work as Ernest Hemingway is missing. Perhaps even more baffling, given their higher degree of fame before this film, is the exclusion of Alison Pill and Tom Hiddleston as the Fitzgeralds. I spoke to Corey Stoll this morning (read the interview) and since I was particularly aggravated by his absence from the list, I asked him how he was feeling about it:

That's a nomination for us whether we go there or not. We are undeniably a part of the ensemble and we brought a lot to the table. But it's strange that it's SAG that does that. I could understand something that's more critic or producer-centric but acting? From my union, I think it's a little strange. 

We wholeheartedly agree!

Other key cast members of Midnight in Paris who appear with "Hemingway" & "the Fitzgeralds" on the second title card and were thus excluded from the honor were: Mimi Kennedy and Kurt Fuller (the future in-laws), Léa Seydoux (the vintage shop worker) and Nina Arianda (Michael Sheen's fiancé).

SOLUTION / SUGGESTION
Wouldn't SAG do better by its own union members if productions were expected to choose the nominees themselves (up to a certain number of people), the way Oscar nominated films must choose who gets the credit fo such efforst as producing and visual effects and what not?