Interview: Lucinda Coxon's 11 Years With "The Danish Girl"

One of this season's most talked about movies, The Danish Girl, set tongues wagging long before anyone had seen a single frame. Years before in fact. It wasn't just the subject matter, though the subject matter would have been enough. The Danish Girl tells the true story of married painters Gerda Wegener (Alicia Vikander) and Einar Wegener (Eddie Redmayne) who struggle to come to grips with Einar's true identity, Lili Elbe. Lili was one of the first trans women to ever undergo gender confirmation surgery which was then an experimental series of surgery. It's a difficult subject to dramatize, and a difficult subject to talk about particularly given how quickly the verbiage and discourse has changed across the decades. People didn't know how to talk about it in 1930 when the story was a very current sensation in Denmark and Germany and do people really know how to talk about it now? A quick perusal of any trans story around the internet will tell you the answer is still no. 

It's always a particular challenge for heavily buzzed pictures to get out into the marketplace and form their own identity outside of everyone's pre-screening perceptions of them. Oscar winner Tom Hooper's (The King's Speech) latest is definitely no exception. Even the casting, which wouldn't have been all that controversial even a handful of years ago other than in a rubber-necking kind of "Oscar bait" way, has been the subject of spirited debates along the lines of "shouldn't a trans actor be playing the part?" But films take a long time to make. Who could have known the happy development in the past few years in regards to trans visibility in Transparent, Tangerine, Orange is the New Black. 

The Danish Girl's complicated gestation period is where I began when i sat down with the woman who'd been with the project the longest, its screenwriter Lucinda Coxon. Our interview is after the jump... 

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Who Will Be This Year's "Out-of-Nowhere" Oscar Nominee?

Coco here, ready to talk about the current Oscar race and the surprises that might pop up.

Last week, we discussed SAG's bizarre taste. The math works against it but we're desperately hoping the Academy breaks free of their influence. Perhaps we should focus our hope on a recent wave of surprising, "out-of-nowhere" nominations at the Oscars.  Ever since 2011 (the year the Academy turned Best Picture into a flexible category with as little as 5 and as many as 10 nominees), there's been at least one acting nominee that landed on Oscar's list without being previously nominated at either the Golden Globes, SAG, or BAFTA.

Here are the stats...

2011 - The shocking inclusion of Extremely Loud and Incredibly Close in Best Picture came with the legendary Max von Sydow in tow for his mute performance in Best Supporting Actor. 

2012 - Everyone was surprised by the amount of support Silver Linings Playbook had considering the supporting Actress nomination for Jacki Weaver. (Various precursors had usually included Nicole Kidman in the divisive Lee Daniels film The Paperboy or random shout outs to Dames Judi Dench (Skyall) and Maggie Smith (Marigold Hotel) and even the then lesser known Ann Dowd (who was pitched as supporting in Compliance though she had the film's central role). It's also hard to remember now, but Quvenzhané Wallis had none of the big three precursor nominations before she made the Best Actress line-up for Beasts of the Southern Wild (though she was included at Critics Choice and at the Spirit Awards)

2013 & 2014 stats. Plus 2015 speculation after the jump... 

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15 Great Moments Inside Movie Theaters in '15

Confession: I am extremely terrible about keeping a calendar, or even a letterboxd list which I update sporadically from time to time before forgetting again. In short the only "diary" of any sort I have is this ode to movies you're visiting now... The Film Experience. Nevertheless in reviewing the film year I realized that I haven't been frequenting NYC's wonderful repertory theaters as much as in past years. Must fix.  And I really have to do a better of keeping track of what I'm seeing in general lest I actually forget I saw something and it's missing from LISTS. *gasp*

But I  ♥ going to the movies. And if you're reading this it's safe to assume that you do too. So it's list time. Please share your favorite moments of moviegoing this year in the comments. 

15 Favorite Moments Inside Movie Theaters in '15
because it's the best place to be!
 

15 The Incredible Hulk (2008) 
April 29th: That moment when my best friend and I suddenly realized that we could leave anytime during the Marvel Movie Marathon (preceding the premiere of The Age of Ultron) and still get the same seat. What a relief. I mean... nobody should have to sit through Iron Man 2 ever again!

14 Clouds of Sils Maria (2014)
April 6th: Sitting down for a special invite-only screening of Clouds of Sils Maria and seeing so many actors I loved in the audience (Diane Lane, Parker Posey, Kathleen Turner and Bill Irwin). Turner was surprisingly willing to make conversation afterwards, her voice miraculously even lower than onscreen in person; she kindly ignored my fairly obvious terror at finally meeting one of my all time favorite goddesses.

13 Hateful Eight (2015) - INTERMISSION ONLY!
Dec: Though I've admired Teo Bugbee as a writer for over a year (and she's written for the site on rare occasion) we finally met recently and every time we managed to sync up our schedules (lunch, drinks at a bar, a screening of Hateful Eight) it somehow become an extra imaginary screening of Carol we talked about the movie so much. Basically Teo is the only way I made it through Hateful Eight. 

Carol, Chi-Raq, two older classics and more after the jump...

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Review: Anomalisa

Tim here. The biggest strength of Anomalisa is that it's the most prominent, prestigious animated feature made in the U.S. for an exclusively adult audience in ages and ages. Since Fritz the Cat, probably; maybe even of all time. The film is the brainchild of Charlie Kaufman, who initially wrote it as an audio-driven stageplay performed by the same cast as the movie; he turned it into a stop-motion feature with the help of co-director Duke Johnson, a veteran of the dark Adult Swim satire Moral Orel. Oddly, it's perhaps the least outré film of Kaufman's career, despite being animated. Or maybe it's exactly the dirty trick of the movie that Kaufman's most ruthlessly realistic story ever would also be the one that is the least objectively "real" of all of them.

That story centers on Michael Stone (David Thewlis), a melancholy author traveling to Cincinnati to give the keynote speech at a conference for customer service representatives. Michael is not a happy man, a fact omnipresent in every facet of the film, from Thewlis's perfectly drained line deliveries, those of a man who could do with a good cry and is too tired even for that, to the painfully bland color palette of the film. [More...]

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FYC: Sarah Paulson, Carol's Best Supporting Actress

The Film Experience is proud to welcome back Matthew Eng for this personal FYC

Sarah Paulson photographed for VarietyThese days, to simply see Sarah Paulson’s name in the opening credits of any project is enough to make me sit back, relax, and sigh with deep and reverent relief that — no matter the lapses in storytelling, the dubiousness of politics, or the haphazard efforts of other actors — I am in the hands of at least one supremely assured and eternally convincing performer.

As someone who missed Aaron Sorkin’s infamous Studio 60 on the Sunset Strip and the extensive list of sitcoms and serials she appeared in from the mid-nineties to the late-2000s (not to mention her numerous stage roles and occasional film appearances), my Sarah Paulson fandom is fairly recent. Of course, like many, I’d seen and admired her wry gal pal in Down with Love, which remains a fun but frankly flaky memory.

But truthfully, I wasn’t fully onboard the Paulson bandwagon until 2012, when she offered American Horror Story’s peak Asylum season a truly new and refreshingly tough-minded depiction of devastated-turn-mobilized female victimhood and then, a year later, sauntered into Steven McQueen’s 12 Years a Slave as one of contemporary cinema’s most memorably unrepentant villainesses, terrorizing Lupita and manipulating Fassy with ferocious, bone-chilling conviction.

When I heard Paulson had joined Carol, I took another of those deep and reverent sighs of relief, as if to say, 'Alright, this film will actually be as perfect as I need it to be.'  [More...]

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