Interview: Pixar's Enrico Casarosa and "La Luna"

Michael C here to give you a sneak peak of a Pixar pleasure headed your way soon.

High on the long list of reasons to love Pixar is their devotion to bringing top quality animated shorts to the movie-going masses, a tradition they are keeping alive pretty much single-handedly. And they are on a roll too. With such titles as Presto, Cloudy Day and the great Day and Night, my love of which I’ve already documented here, they are developing a body a body of work to stand beside the great catalogues of classic Disney and Warner Bros. cartoons. 

Now having attended a sneak of La Luna, the new short most of America will see attached to Brave, I am pleased to report they have another winner on their hands. La Luna is a fable about young boy caught in an inter-generational conflict as he joins his Papa and Grandpa for the first time in their nightly work. The slow reveal of the exact nature of that work is one of the film's delights which also include its elegant dialogue-free storytelling, glowing moonlit atmosphere and an especially lovely Michael Giacchino score.

La Luna is the baby of Enrico Casarosa, who is making his directing debut with this love letter to his Italian roots. He began with Pixar as a story artist on Cars and Ratatouille, and he is currently working as Head of Story for an upcoming feature. I sat down with Casarosa to discuss his new film, his influences, and to see how much I could peek behind the Pixar curtain.

Michael Cusumano: I got the impression that La Luna is a very personal film for you. Am I right in saying that? 

Enrico Casarosa, Head of Story for Pixar

Enrico Casarosa: Yeah. I really felt I wanted to find an emotional core to it and I think Pixar is pretty adamant about trying to find connections. The directors need to find that personal story to tell. So I really looked at my childhood. I grew up in Genoa, in Italy, and I grew up with our grandfather in our house, and my dad and my grandfather never got along. So I would have very long dinners where I was definitely in the middle of these two guys, talking to me but never talking to each other. So that feeling of being a little bit stuck in the middle was something I was after. And I would be really fun to try to give a positive message of a kid choosing his own - you know - it’s not Papa’s way, it’s not Grandpa’s way, but it’s his own way. So he finds his own road. I thought that was worth sharing, it could be the core of it. 

Then I mixed that with a completely fantastical kind of setting to juxtapose the very personal with something more fantastic. The inspiration to that is a lot of literature. I’m a big Italo Calvino fan. He’s a wonderful writer that we read in high school in Italy. He has, all through his novels and short stories, making the very fantastic juxtaposed with very simple characters, peasants, so that’s the kind of a feel I wanted to capture. I wanted them to be very poor, you know, working the land, fishermen. Then I thought it would really be a great juxtaposition when you find out their job is actually pretty mythical.

How is it possible to get such a personal story through such a collaborative process? [MORE AFTER THE JUMP]

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Interview Extra: Dagmara on a Hot Tin Roof

When you're writing up pieces for publication from interviews, whether for magazines or blog posts or whatnot you can rarely use everything. So why not treat them like DVD extras and toss them out a little later on? With Patrick Wilson's new TV series A Gifted Man premiering tonight, I thought what better time to revisit The Film Experience interview with his wife Dagmara Dominczyk . She was a warm and funny presence on the Higher Ground promotional trail just as she is in the movie in a key supporting role.  Hopefully more of you have had the chance to see Vera Farmiga's directorial debut since that piece went up.

I told Dagmara that I had seen her in Broadway's shortlived The Violet Hour several years ago and the conversation turned to her stage work which seguewayed to a fun Patrick moment. 

Nathaniel: Dagmara, I know you were the original understudy in Broadway's Closer in the role of "Alice". I don't know if you ever went on...

Dagmara: [Emphatically] 13 times I went on and I know every single time!

Her name is "Alice"Nathaniel: So did you see the movie later and think I could do that.

Dagmara: YEAH [Vera Farmiga laughs suddenly. Dagmara is deliciously open with her answers.]

But I didn't think "damnit why didn't I?" You know what I mean? There's a difference. Patrick and I... our dream that we talk about as a side fantasy is to do a revival of Cat on a Hot Tin Roof. 

Vera: That would be awesome.

Nathaniel: [Momentarily stunned] God, you'd be great for those parts. That's so weird. I instantly pictured it.

Dagmara: Right?!? Hello! So he's got a few more years left to make that happen.

MORE DAGMARA FUN AFTER THE JUMP...

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Never Compromise, The Iron Linky

Feast your eyes on the first poster for The Iron Lady... [via]

I admire the concept of this poster but I think more of her face should have been showing for aesthetic reasons before it began to bled into the Parliament.  As it is it's weirdly torn up.  But perhaps you'll feel differently. You'll tell me, won't you?

Links
Antagony & Ecstasy Nick started a real trend with those 'year so far' awards
My New Plaid Pants "Thursdays Ways Not To Die" takes on Disney's Finding Nemo and you can't argue with that pie chart.
Mr Hipp Strikes! Remember when I said that Drive is one of those movies that will eventually inspire cult devotion. It's already obviously begun.
GQ Natasha VC (whose tumblr i just lurve) on Terminator 2: Judgment Day (one of my favs). Though... apparently she's pissing off some cinephiles with this.

TV Break
Gold Derby Remember how weird it was when Mad Men lost everything but Best Drama at the Emmys on Sunday. Turns out it's not so weird. 
The Critical Condition loves the new drama Revenge which features the return of the wonderful Madeleine Stowe. So do I and I only watched it to see Stowe again. Interesting that he brings up Ringer in his review because the whole time I was thinking: how come Sarah Michelle Gellar couldn't get a decent expensive show like this to headline? Ringer is just a mess and she's a much bigger star than Emily VanCamp. 

Finally...
You can head on over to Towleroad to read my interview with writer/director Andrew Haigh. His debut (scripted) feature Weekend, is a real wow, beautifully observed, well acted, consistently engaging and expressively shot... all the things that no-budget gay cinema usually lacks. There's more to this interview since our conversation spilled over past our alloted time so I might share a few more nuggets later on if I see cause. I'm hoping the film does well on the coasts and prompts further expansion. It's very good.  

Christina Hendricks on "Drive", Acting During Car Chases and That Scene

Michael C. here. I missed Margo Martindale's work on Justified, but judging by the response to her Emmy win, and by the consistently stellar level of her work, the award was no doubt well-deserved. All the same, it was hard not to mutter a curse under your breath when a name other than Christina Hendricks was called out. For four seasons on Mad Men Hendricks has been the epitome of a what a great supporting performance can accomplish. Her nuanced, deeply felt performance as Joan Holloway prevented the character from being the period caricature it could have been in lesser hands, and raised the bar for the rest of the show.

Christina Hendricks as "Blanche" in DRIVE (2011)

Now with Drive, in the small but crucial role of Blanche, Hendricks is taking that skill for finding the heart underneath flashy surfaces to the big screen. I got to chat with Hendricks recently at a press event where she arrived bright and enthusiastic fresh from the set of Mad Men. Here are some of the highlights from the event where I was able to get a few questions in:

On her confrontation with Ryan Gosling…

Christina Hendricks: We shot that very intense scene the very first day of shooting. None of really knew each other, and we were in this hundred degree creepy little hotel room. And so Nicolas came up to us and said, “I’m the kind of director - I will shoot and shoot and shoot until you tell me not to shoot. So be vocal with me and let me know if you feel comfortable with what we’ve already got” No director ever does this. It’s really a nice thing to hear.

He was just very collaborative and very understanding; because it was really intense stuff we were shooting. And because I really didn’t know Ryan yet, it was this very real feeling of fear in this very uncomfortable hot room. So it was intense to shoot, but I think it lead to a successful scene. We all got to know each other by the end of the day [laughs] All sweating together.

Michael: How much of that intensity were you ready for and how much did you experience for the first time on the day?

Christina Hendricks: I think the night before we rehearsed it so we could get the blocking down but we didn’t rehearse it emotionally. We knew where we were going to be standing. Cause we knew it was going to be a long day and we knew it was going to be hard with the entire crew in there. So we all got together the night before and said, “We’ll walk here and here and then you’ll go down and the money bag will be here.” So I wasn’t quite ready for this strong leather glove on my face and I remember my heart being like “Ba-boom! Ba-boom!” He [Gosling] is such an extraordinary actor it felt real and very much in the moment. We did that scene over and over and over, so I was an emotional wreck by the end of the day. I was crying for twelve hours straight.

Michael: It comes across. Just watching it is draining.

Christina Hendricks: It was heavy. Nicolas would be like, “Can you do one more?” and I would be like “[gasping sobs] Hold on.” And Ryan was like, “Who are you? How can you keep doing this?”

 On choosing Drive...

Christina Hendricks: I choose a project based on who’s involved and my faith in them and the script and the rest you just let go. I’d seen Nicolas’s film Bronson before we met and I was so impressed by it and so excited by it that I was like, “This guy’s going to do something cool." The end result was kind of what I imagined he would do. It was stylish and rich in color and scary and heartfelt and all these different things that I knew that he would do. I had a lot of confidence in him.

(From this point forward we could not avoid getting into SPOILERS -so read on if you've seen the movie)

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INTERVIEW: Ludivine Sagnier on "Love Crime", Her Star Persona and Catherine Deneuve

If you first discovered Ludivine Sagnier, as many movie lovers did in the early 00s through the films of François Ozon, the sensation was something like wide-eyed whiplash. One moment she was the exuberant tomboyish daughter of Catherine Deneuve in the musical 8 Women and the next she was anything but as a lusty bikini-clad (or unclad) vixen causing trouble for Charlotte Rampling in the thriller Swimming Pool. Both films were international hits and her turn as "Tinker Bell" in the UK/USA/Australia production of Peter Pan further upped her profile.  Sagnier has been a movie star in France ever since. 

 Ludivine Sagnier in Alain Courbet's Love Crime

Currently both The Devil's Double in which she plays leading lady to a Dominic Cooper double-act and the thriller Love Crime  in which she plays headgames with Kristin Scott Thomas are now in theaters and  Beloved with Catherine Deneuve will undoubtedly follow; consider her international profile revived. 

I sat down to talk with one of my favorite French actresses earlier this year during New York City's annual Rendezvous with French Cinema event. After introductions and a bit of small talk about French cinema and The Film Experience's actressy nature, we got down to business. 

NATHANIEL: You started so young Cyrano de Bergerac (1990). You were all of 9 or 10! 

LUDIVINE: People always ask me how I got started. My story is so common that it's a bit tiring. I went to an audition with my sister who wanted to be an actress and they asked me if I wanted to do an audition and they picked me and didn't take her. It happens so many times in the industry. I've talked to a lot of actresses...

Deneuve and Sagnier in Cannes in MayNATHANIEL: So when you were first coming up as an actor in France were you conscious of this great legacy. Like you're next in line after Huppert and Deneuve and well, so many actresses... France makes great ones.

LUDIVINE: NO! I Didn't see myself that concretely... I didn't like myself that much in the beginning. But it's funny because I just shot a movie where I was playing Catherine Deneuve in the 1960s and she is playing me older. It's Beloved from Christophe Honoré who I did Love Songs with. Maybe this time I had the feeling that we are part of the same family, that we have a common story. First she was my mom in 8 Women. Then I was Chiara's sister in Love Songs and Chiara is her daughter. And now Chiara is my daughter in Beloved. Everything is so mixed up!!!

And now I dare think we share the same history. When I started... NO.

Continue For Ludivine's Feelings on Star Persona, International Careers and Genre Hopping 

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