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Entries in Ethan Hawke (38)


The Babadook, Russell Crowe and Mia Wasikowska Score at "Aussie Oscars"

Glenn here again to look at the AACTA Awards - aka the "Australian Oscars" - which announced their annual nominations last night. Lots of big names spread across the field and some welcome nods to smaller films.

It was an expectedly big day for Russell Crowe's directorial debut, The Winter Diviner. While ol' Rusty may be miffed (justifiable? I'm not sure, I have not seen his film yet) that he missed out on a directing nomination, he surely can't be disappointed for too long since his film is scattered all over the nominations. In fact, with eight, the WWI drama received the second-biggest haul of the day. Somewhat less expected, however, was the film that leads the nomination tally: Predestination. A period-set sci-fi thriller from the Spierig Brothers (Daybreakers) that stars Ethan Hawke as a time-traveller whose life intersects with a mysterious man whose story spans time, space, fate, terrorism, love and even gender. Thankfully that refreshing lack of genre bias extended to six nods for The Babadook and The Rover. Meanwhile, more traditional dramas like Tracks, The Railway Man and Australia's foreign language entry Charlie's Country also fared very well.

Here are the nominations.

Best Film

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NYFF: Ethan Hawke Introduces 'Seymour'

The New York Film Festival begins this Friday and Glenn continues our pre-fest coverage by looking at 'Seymour: An Introduction'.

It’s curious that Ethan Hawke has appeared on screen this year with Richard Linklater’s Boyhood and now returns behind the camera (after Chelsea Walls and The Hottest State) to direct Seymour: An Introduction. Curious because both films get their life-source from demographics at opposite ends of the age spectrum that are both treated somewhat like lepers of cinema. Teenage boys in Boyhood and kindly old senior citizens aren’t usually treated with such respect and humility as these two Hawke projects. I have not seen Hawke's two previous directorial efforts, but this first foray into documentary is a nice step for this Hollywood stay who has clearly wrestled with being an artist in an industry that doesn't necessary encourage it.

Having said that, this “introduction” to the 86-year-old (I hope I am remembering the age correctly as information about it appears non-existent online) suffers from, perhaps, too much of a need to be charming, rarely digging deep enough into this man’s life to eke out a portrait of lasting relevance. Seymour: An Introduction is nice and lovely and 80 minutes spent with delightful company, but while Hawke flirts with finding something deeper within the renowned pianist’s history to delve into – a brief snipped mentions he has lived alone in the same apartment for 57 years; he begins to tear up at recalling his days performing for troops in Korea – they are shortlived.

Hawke instead prefers to keep his film predominantly observational to his life as it stands today. He tutors students of various ages, performs open-to-the-public masterclasses (which are the film’s highlights), goes for tea at Tipsy Parson café on 9th Avenue, and extols wisdom with bonmots such as “without craft there is no artistry” and “if you feel inadequate as a musician, then you’ll feel inadequate as a person" that frequently verge on the wise old crackpot scale. His observations about classical music, particularly as it pertains to one’s own personality including the masculinity of Pollock, Brando and Beethoven, are enlightening. So, too, are the occasional memory lane throwbacks to other famed pianists like Glenn Gould and Sir Clifford Curzon.

Bernstein and Hawke after the screening

Hawke does appear on screen, briefly early on and then again towards the end where he introduces Bernstein’s return to public performance (he had given it up many decades ago after a well-reviewed performance at Alice Tully Hall nearly crippled him with nerves and doubt about the industry’s integrity) to a small group of pupils and recognizable faces (Mark Ruffalo can be seen in the crowd, but don’t blink or you’ll miss it). In another way that it plays as an opposite of Boyhood, Seymour: An Introduction settles for telling the story of one man rather than hoping to tell a story of more wider-reaching grasp. I think the film certainly could have benefited perhaps from more exploration of the Upper West Side's role in the forming of these prodigal talents as well more insight into Bernstein's place amongst modern musicians from people who aren't his friends or students. I just wish the film had a bit more meat on its bones to make it a more memorable introduction. B-


Seymour: An Introduction screens on Saturday Sep 27 (12pm) and Monday Sep 29 (9pm). NYFF will also host "An Evening with Ethan Hawke" on Tuesday Sep 30 (6pm).


Say What, Emma & Ethan?

The first still from a movie called Regression starring Ethan Hawke and Emma Watson. You captioned it and dialogued it. It's time to name the winner, who chooses the new banner theme.

"I'm sorry it has to come to this, but......five points WILL be taken from Gryffindor."
-Jake D 

Choose your banner theme, Jake!


Link is an Open Door

Cinema Blend Sebastian Stan, the Winter Soldier himself, has a nine picture deal with Marvel Studios (!)
Vanity Fair Lee Pace stars in a new series AMC hopes can replace Mad Men. Yeah, good luck with that. I especially worry that they're going for another anti-hero. Mad Men and Breaking Bad weren't exactly standard fare when they started. You have to offer something new once imitators are a dime a dozen on every channel. 
The Playlist first images from the new Dardenne Bros film starring Marion Cotillard as a woman about to lose her job

Marion Cotillard would like you to share an ice cream cone with her

IndieWire intriguing interview with Ethan Hawke, who seems to understand his own limitations and his career
Playbill a live album of West Side Story with Cheyenne Jackson as Tony is coming soon
i09 the next X-Men movie will be set in the 1980s 
The Wire reminds you to finally watch Darren Aronofsky's Pi since it's Pi day (3/14). You need to jump because it's almost over 
Coming Soon Captain America 3 is playing "chicken" with Batman vs. Superman, both slated the same weekend in May 2016. 

Today's Watch
I guess Frozen's "Let it Go" has run its course and now people are on to "Love is an Open Door". This video is so adorbs, cute parents perfectly lipsynching the duet while their daughter ignores them in the back.  


We Can't Wait #9: Boyhood

[Editor's Note: We Can't Wait is a Team Experience series, in which we highlight our top 14 most anticipated films of 2014. Here's Tim Brayton on Boyhood.]

Richard Linklater’s 12-years-in-production epic follows one child from age 7 to 18, as he and his parents grow up in front of our eyes. There’s no readily apparent plot details beyond that --  unless you're reading spoilers from Sundance reviews -- but I’m hoping for robot vampires.

Director-producer-conceiver Linklater is joined by his ever-ready partner in long-form narrative, Ethan Hawke, as well as Patricia Arquette. Ellar Coltrane, in the longest-gestating breakthrough performance of all time, stars as the boy himself.

Why We Can’t Wait
The excellence of the every-nine-years entries in the Before… series have proven beyond a shadow of a doubt that Linklater has a unique gift for telling stories about the way that people’s lives, outlooks, and even personalities mature and evolve as the years go by. And if anything, the hook behind his newly-completed project is even more exciting: watching a child experience all the confusions and difficulties of adolescence in something like real time, the actor living through the same process of maturation as his character. To do justice to that kind of deeply human-scaled content would take a uniquely great director of actors and children, and luckily, in Linklater we have one of the best: his 2003 School of Rock features some of the very finest child acting in recent memory.

Richard LInklater and the cast of Boyhood at Sundance

And if there was any doubt that the one-of-a-kind project was worth paying attention to, the absurdly glowing reviews out of Sundance would seal it. The "dissenting" views from the general chorus of raptures tend to be along the lines of "this unbelievably ambitious and sprawling and exciting project has some rough patches in the plot and a few scenes that don’t land". It would be worthy getting excited for what sounds like the most singular, game-changing film of the year based on the buzz alone, but for those of us who’ve been patiently following along with the film’s production since Before Sunrise was a standalone, the great reviews are merely the capstone to a generation’s worth of anticipation.

But We Do Have To Wait
Well, not everybody – Nathaniel caught it at Sundance. The rest of us will have to wait until confirmed distributor IFC picks a release date; May worked well for Linklater and Hawke’s Before Midnight last year, and rumors are that the same timeframe is likely for this one.

Previously: #10 Big Eyes | #11 The Last 5 Years | #12 Gone Girl | #13 Can a Song Save Your Life |  #14 Veronica Mars | Introduction


Sundance: With "Boyhood", We Can Officially Crown Richard Linklater King of Longform Cinema

Our Sundance Film Festival continues with Nathaniel on Richard Linklater's "Boyhood" 

Life can sneak up on you. Individual moments may linger and shape us but most of life's power is cumulative. It's all in the daily living. When narrative art wants to approach the impossibly grand subjects of Life Itself or at least whole huge swaths of it like Falling in Love or Coming of Age or Starting Over, it's usually in the form of a snapshot: one season, one day, one year, one life-changing event. Richard Linklater's incredible Boyhood, 12 years in the making and longer still gestating before that, starts small. When we first meet Mason Jr (Eller Coltrane) he's a boy of 6 or 7, and not that much different than any little boy... staring at clouds, playing outside, fighting with his sister. But Boyhood has much larger scope and Linklater wanders right out of the singular snapshot and bicycles straight for the mosaic. And what a mosaic! [more...]

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