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Entries in Glenn Close (29)

Sunday
Aug172014

Podcast Extra: The Trouble with Diane Keaton

In this free flowing conversational extra [23 minutes]  Joe Reid tells Nick, Katey and Nathaniel  about where his devotion to Diane Keaton has taken him: to the "nothing" of And So It Goes (2014). We discuss the dangers of "comfort zones" and working with paychecks.

The conversation drifts to Edge of Tomorrow and Broadway musicals including Into the Woods. But mostly the 1989 & 1990 Oscar ceremonies. We always end up at Oscars. It's a sickness! Name checked in this extra episode: Emily Blunt, John Lithgow, Graham Greene, Michael Douglas, John Lithgow, Annette Bening, The Silence of the Lambs, Reba McEntire, Michelle Pfeiffer, and the musical stylings of Jasmine Guy. 

You can listen at the bottom of the post or wait till it shows up on iTunes (which usually takes about a day). Continue the conversation in the comments. We'd love to hear your comments on how it's going with Diane Keaton and your memories of the 89 and 90 Oscars, should you have any that is.

Articles Referenced
Joe & Kevin on Diane Keaton's career, Nathaniel on King Lear, and Nick & Joe's halfway mark capsule brilliance

And So It Goes...

Thursday
Apr242014

Tribeca: "5 to 7," Or Why Frustrated Writers Should Back Away From Final Draft

Tribeca coverage continues with Diana on 5 to 7 with Anton Yelchin & Glenn Close

Based on the imaginings of an out-of-touch, middle-aged writer-director, 5 to 7 is about a 24 year-old “writer” (Anton Yelchin) who becomes involved with the 33 year-old wife of a French diplomat (Berenice Marlohe). Brian lives in Manhattan, presumedly on his parents’ dime (Glenn Close and Frank Langella, both painfully misused), and attempts to write, his creative juices facilitated by posting a multitude of rejection letters on his wall and playing lonely man wiffleball in his apartment. Arielle also lives in Manhattan  and is oh so very “French” -- husband, two kids, posh neighborhood, and ability to balance high heels with a well-fitting dress.

Spotting Arielle in front of the St. Regis, Brian pursues her through quips that sound more like early drafts of “wit” rather than the finished product (think Woody Allen without the neurotic charm). She tosses words back at him that are meant to signify mutual attraction. When they do end up in a hotel room together (after she hands him the key), there is zip chemistry between the pair, cringingly highlighted all-the-more when Arielle tells Brian that he is a natural lover and asks whether his other lovers had told him that. That’s the crux of the problem with this film - we are told things consistently through voiceover and character iteration (Brian loves Arielle, Arielle loves Brian, Brian’s mother can see that they love each other), but we’re rarely shown anything substantial enough to back up these assertions. [More...] 

Click to read more ...

Saturday
Mar292014

25 Years Ago Today... Marquise & Madame 

These pictures were literally shot 25 years ago today - Michelle Pfeiffer & Glenn Close at the Governor's Ball for the 1988 Oscars on March 29th, 1989.  

Click to read more ...

Saturday
Mar082014

"Spark"

Illustration Friday is fun internet exercize for artists and though most of the participants seem to be professional, which I am not, I'm trying it again to celebrate my first iPad (which is much easier to draw on then the phone). This weeks topic is "Spark" and the second I saw the words this image popped into my mind. Because few things at the cinema have ever felt so much like a lit fuse to something powder-keg explosive...

To this day I remember the chills, my breath stopping in the movie theater when the Marquise de Mertueil (Glenn Close) and Vicomte de Valmont (John Malkovich) had their final heated confrontation. They'd fallen out over previous verbal arrangements and epistolary evidence. "A single word" is all he asks to mend things between them, though it sounds like a threat. The single word he's looking for is "yes" but she has a different three letter word in mind.

War.

 

Movie go boom.

If "fierce" hadn't yet been invented as a word, the existence of Glenn Close's Marquise would have birthed it right then and there. (If Glenn Close were half as frightening as the Marquise crossed, the Academy would never have dared rob her of that Oscar. And rob her they did.)

Which moment lit the most explosive fuse in a movie you love?

Thursday
Mar062014

Say What? Glenn & Meryl 

Amuse us by eavesdropping on this conversation between Glenn Close and Meryl Streep this past Sunday. What were they saying? Tell us in the comments.

The winner, announced tomorrow, gets Glenn Close's Oscar*!

 

*that does not exist. there is no prize


Thursday
Sep192013

This Comment Thread is NOT Going to Be Ignored

Today's Lunchtime Poll (what, we eat late)... 

Which movie star would drive you mad if they dumped you after a brief torrid sexual affair?
 

Wednesday
Aug212013

Robert Redford is "The Natural"

To celebrate Robert Redford's imminent return to cinema in "All is Lost" Team Experience will be surveying some of his classics and key films. Here's Anne Marie on The Natural.

Robert Redford is as American as apple pie and baseball. Actually, it might be equally accurate to say that apple pie and baseball are as American as Robert Redford. Like Jimmy Stewart before him, Redford personifies the American Man ideal. But unlike Stewart's earnest Everyman, Redford, with his golden boy good looks and sweet-but-sardonic smile, is the Mythic American Man model. Redford is not the star you relate to; he's the star you admire from afar. Robert Redford has spent most of his career playing variations on this character, but nowhere is his inherent legendaryness used to greater effect than in the 1984 film The Natural. The Natural is a movie about the American Myth through the lens of the American Pastime.

It would be easy to mistake The Natural for "just another sports movie." The plot certainly reads as another sentiment-drenched schlock-fest.  Roy Hobbs, a nobody who's past his prime, changes baseball and wins a championship with his talent, his courage, and a baseball bat struck by lightning. (I rolled my eyes even as I typed that.) However, to take this movie too literally is to miss its point. 

The Natural plays on a grander scale. Roy Hobbs is the Arthurian Hero wielding a legendary weapon. It's no coincidence that he leads a baseball team called the Knights. Barbara Hershey, in a small but striking role as the woman who ends his career before it begins, is Temptation. Glenn Close makes a rare appearance as the Good Woman, representing the wholesome life Hobbs missed before but could win back. Kim Basinger makes a not-so-rare appearance as the Sinful Woman, a blonde version of Temptation that Hobbs will have to overcome again. These are Characters with a capital "C," more important for what they symbolize than for who they are. If you don't believe me, watch how often characters are backlit. Strong backlighting is cinematography shorthand for Significant And Symbolic Character.

Glenn Close as "Good Woman" a few years before evil was her forte

I have to confess: I usually hate sports movies. I, like Margo Channing, detest cheap sentiment, which is the currency most sports films trade in. The underdog story is overdone. There are only so many sacrifices a man can make for a game before I question his priorities; and really, Rudy made one sack in one play, so why are we cheering mediocrity?

By that measure, I should hate The Natural too. But I can't. Maybe it's Robert Redford's rugged handsomeness (there is no such thing as "middle-aged" Redford; like wine, cheese, and good art, he just gets better with time). Maybe I just really love watching Barbara Hershey vamp. Maybe it's because I'm a sucker for movies about the American Dream, where one person can change the world thorugh earnest hard work. Whatever the reason, The Natural remains a personal favorite, as well as a classic.